Upon arriving in Venice, the intersecting relationship between European culture and rhinoceros gradually unfolded. It dates back to the 16th century with the creation of Dürer's rhinoceros woodcut, followed by the appearance of Clara, the female rhinoceros, in the 18th century. Fast forward to the 21st century, Taiwanese artist Shih Li-jen aims to stir up another wave of contemporary rhinoceros frenzy at the Venice Biennale with his rhinoceros sculptures!

Retracing to the 16th century, the rhinoceros, a species from Asia and Africa, never failed to amaze Europe. A rhinoceros, once deemed a treasure by the King of Portugal and presented to the Pope as a gift, embarked on a perilous journey across the ocean. Unfortunately, it succumbed to the ocean's waves before reaching the shore, deepening Europe's curiosity about this creature. This incident, shrouded in mystery, sparked discussions across various fields in Europe, be it in science or art. For instance, German artist Dürer's famous rhinoceros woodcut was born out of descriptions from others. Dürer depicted a gigantic beast, and despite not accurately capturing the rhinoceros's appearance, his rhinoceros print (Rhinocervs) became a sensation throughout Europe, serving as the archetype of rhinoceros depictions and inspiring numerous reproductions for the next three centuries. It wasn't until the appearance of Clara, the female rhinoceros, at the end of the 18th century that Europeans truly witnessed the rhinoceros's real face!

From 1741 to 1758, wherever Clara went, she drew crowds of Europeans. Clara's arrival sparked discussions among palace nobles, who eagerly invited her to witness her true appearance! Clara's life was fully documented in Europe. Born in India in 1738, her mother was hunted down when Clara was just a few weeks old. Adopted by the captain of the Dutch East India Company, Clara grew up traveling the world with him. Raised on board, Clara was deeply loved by people, dining and traveling with humans. Her fame spread from England to Poland. Until 1749, when Clara arrived at Versailles, she caused quite a stir, setting the trend at the time. Nobles fashioned their wigs into rhinoceros styles, wrote poems, and composed music for her. The French navy even named a new fast ship "Rhinoceros." With the Enlightenment flourishing, scientists clamored to examine Clara, making measurements and recording her in encyclopedias. In the art world, paintings featuring rhinoceroses ushered in a new creative trend.

As recorded in Irish writer Glanville Ryder's book "Clara's Grand Tour: Travels through Eighteenth-Century Europe with a Rhinoceros," the gentle Clara got along well with sailors at sea, even enjoying beer and tobacco! She believed humans were kind. While rhinoceros horns were prized as rare medicinal ingredients in Asia, Clara, traveling in Europe, was not spared from having her horn stolen. One clear morning, the captain noticed Clara's appearance had changed; she lay weakly, her horn, like her mother's, had been stolen, causing severe injuries. Clara was rescued, but her horn was gone. In Longhi's painting "Clara the Rhinoceros," her horn was nowhere to be seen. With Clara's death in London in 1758, though the craze diminished, the anecdotes of this rhinoceros phenomenon were permanently recorded through commemorative coins, posters, paintings, and documents from the time.

In the 21st century, Taiwanese artist Shih Li-jen has once again brought rhinoceroses to the Venice Biennale. His "King Kong Rhino" series goes beyond mere recordings or realistic portrayals of rhinoceros forms; it incorporates the artist's contemplation on human cultural progress and the cultural heritage of Asian civilizations. Through the image of the towering rhinoceros, he conveys his creative concept while advocating for the protection of Earth's environment and ecological harmony. In Shih Li-jen's works, there is no longer the fear of plunder and slaughter but rather a positive energy of awakening life!